Resurrected (2023)

Resurrected has the kind of high-concept hook that feels instantly provocative: a near-future world where the Vatican can bring the dead back, and faith becomes entangled with technology in ways that are both thrilling and unnerving. Director Egor Baranov leans into a sleek, dystopian atmosphere—part conspiracy thriller, part moral nightmare—building tension through creeping dread rather than cheap shocks. As a priest pulls at the loose threads connecting resurrection to a string of murders, the film keeps you leaning forward, inviting you to question what “life” is worth when it can be manufactured, controlled, and weaponized. If you like your sci-fi with a dark, theological edge and your horror more cerebral than splattery, this is a smart, moody ride—though viewers looking for lighter escapism or clear-cut answers may find it deliberately unsettling.

Resurrected is clearly aiming for a moody, high-concept mashup of sci‑fi noir and religious conspiracy, with a premise that’s juicy enough to promise big ideas about life, death, and power. The catch is that it often plays more like a low-budget thriller than the provocative Vatican-meets-future shocker it wants to be, with uneven pacing and world-building that can feel sketched rather than lived-in. If you’re expecting relentless horror set pieces or a tightly plotted mystery with clean answers, you may find it more talky and murky than satisfying. Still, if you’re patient with rough edges and you like grim atmosphere, morally messy characters, and concept-first storytelling, there’s enough here to keep you curious even when it doesn’t fully deliver.